View and purchase books by and about Robert Kipniss. BOOKS Paintings & Poetry, 1950 - 1964 Overview and Details Available from the publisher Intaglios, 1982 - 2004 Overview and Details Consult Bookfinder for availability Paintings, 1950 - 2005 Overview and Details Consult Bookfinder for availability A Working Artist's Life Overview and Details Consult Bookfinder for availability Seen in Solitude Overview and Details Consult Bookfinder for availability The Graphic Work Overview and Details Consult Bookfinder for availability

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Kipniss's first print and only etching was made in 1967. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other mediums. "Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints." < DRYPOINTS & ETCHINGS Untitled 2020, drypoint, 9.875 x 8 inches. Not editioned. A small copse in a field 2016, drypoint, 6.5 x 7.875 inches. Edition of 16. Untitled 014 1992 (Grace 29), soft-ground etching; key plate impression in black (the edition was printed in three colors from three plates), 6.875 x 7.875 inches. Edition of 75. Pages from a sketchbook #2 2003 (Grace 126), drypoint - printed from two plates w/ chine collé, 9.875 x 8 inches. Edition of 60. Pages from a sketchbook #4 2003, drypoint, 9.375 x 6.875 inches. Edition of 50. Trees 2003 (Grace 128), drypoint, 2 x 2 inches. Edition of 20. Hilltop 1996 (Grace 62), drypoint, 6.875 x 7.5 inches. Edition of 30. Morning, Springfield OR Sunday, Springfield 1992 (Grace 40), drypoint, 6.875 x 7.375 inches. Edition of 50. Near Lancaster 1992 (Grace 39), drypoint, 6.75 x 7.375 inches. Edition of 50. Springfield, O 1991 (Grace 31), drypoint - printed from two plates, Fifth and final state, 1 impression pulled from each previous state, 12.75 x 10.875 inches. Edition of 60. Self-portrait, second state 1969, reprinted 2019 (Lunde 15), drypoint, 10.75 x 9.825 inches. Edition of 17 (1969), and 16 (2019). Pale trees 1968 (Lunde 3), drypoint, 8.25 x 11.75 inches. Edition of 30. View more Kipniss's first print, an etching, was made in 1967 at Pratt Graphics Center. That year he began producing drypoints, which he has made periodically since, although in smaller numbers than his works in other mediums. Almost all of his drypoints have the large areas of white typical of that medium, creating much more of an effect of outdoor light than his mezzotints. Springfield, O . (1991) shows the typical velvety black lines of the drypoint, caused when ink adheres to the raised burr next to the furrow, but Kipniss's lines are placed more tightly than is usual in drypoints. The work is in three institutional collections, including the British Museum, London. After a long hiatus from drypoint, Kipniss has returned to the medium in his later years. Since 2016, he has completed several atmospheric compositions in the medium, working with Anthony Kirk Editions.

In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964. Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. < Back to all essays Regard 1959 / 2011 In 2011, as the artist turned 80, Kipniss in deep reflection on his life and career in multiple ways. He had just published his memoir, and had reviewed his early work as a poet in preparation for Robert Kipniss: Paintings and Poetry, 1950-1964 . Here, for a solo exhibition of recent work, he considers the lessons that sixty years at the easel has brought and shares a particularly poignant and relevant poem he wrote in 1959 that lends its title to the exhibition. Downloadable PDF Springfield, O. III (2005), oil on canvas, 20 x 22 inches, exhibited in “Recent Paintings by Robert Kipniss” at the New Orleans Museum of Art, March 4 – May 14, 2006.

Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at galleries and museums worldwide since 1951. He is a Royal Academician (retired), an elected member of the National Academy of Design, New York, and holds two honorary doctorates. ABOUT CV Representation & Important Links Honors Artist Statement Biography Influence & Style ROBERT KIPNISS Robert Kipniss is a distinguished American painter and printmaker. Born Brooklyn, NY, February 1, 1931 Downloadable CV REPRESENTATION The Old Print Shop, New York, NY ebo Gallery, Millwood, NY CK Contemporary, San Francisco, CA Windsor Fine Art, New Orleans, LA Galerie d'Orsay, Boston, MA IMPORTANT LINKS Wikipedia Page WorldCat Smithsonian Archives of American Art HONORS National Academy of Design, Lifetime Achievement, 2014 The Artists’ Fellowship, Lifetime Achievement, 2010 Society of American Graphic Artists, Lifetime Achievement, 2007 National Academy of Design, New York, The Cannon Prize, 1999 Royal Society of Painter-Printmakers, London, elected member, 1998 Illinois College, Jacksonville, Illinois, Honorary Doctorate, 1989 American Academy of Arts & Letters, Hassam, Speicher, Betts and Symons Purchase Award, 1988 Wittenberg University, Springfield, Ohio, honorary doctorate, art building dedication, 1979 ARTIST STATEMENT One thing I have most wonderfully learned is that the greatest reward for making art is making art. Instinctively I knew that painting and exhibiting were the only essentials I needed, and whatever difficulties I encountered along my path, there was always the reassurance of working and learning. I was working and showing right from the start, and it never occurred to me to wonder if I would be successful or not. In the beginning, it was very challenging, mostly because there was no sure way to do it, no rules, no guideposts. For about ten years my painting was lyrical, energetic, filled with bright color, and charged with exuberance. At the same time, the poetry I was writing was dark, angry, and often painful to create. When I stopped writing in the early 1960s, my paintings took on the characteristics of my poetry and became infused with anger, a dark monochromatic palette, gravitas, and occasionally slightly surreal themes. It was only after a few years when my lyricism began to re-surface and meld with the darkness. This was the beginning of my mature style...my life as an artist continues to be a passionate adventure. Every day I learn more about the constellations of feelings and thoughts I derive from the simple act of seeing. The life of an artist is about the art. I have lived my life as I dreamed of doing when I was a young man. BIOGRAPHY Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at galleries and museums worldwide since 1951. He is a Royal Academician (retired), an elected member of the National Academy of Design, New York, and holds two honorary doctorates. His work is represented in the collections of numerous public institutions, including The Metropolitan Museum of Art, The Art Institute of Chicago, The Whitney Museum of American Art, the Smithsonian American Art Museum, the Victoria and Albert Museum, London, and many others. He has created over 750 editions and is perhaps best known as one of the leading living practitioners of mezzotint. After working in various locations in New York City for over three decades, in 1989 he moved his studio to Ardsley-on-Hudson, New York. He now lives and works in Sharon, Connecticut. "For over five decades, Robert Kipniss has prolifically produced paintings, prints, and drawings of remarkable beauty, eloquence, and refinement...he has gained international recognition for his distinctly American images of spacious landscapes and smalltown vistas, as well as quiet interiors and intimate still lifes. Following in the footsteps of such esteemed predecessors as Paul Cezanne and Giorgio Morandi, the artist has faithfully investigated and reexamined these familiar, humble subjects...He has never felt confined or restricted by their narrow range; rather, he is liberated within it... Kipniss's art has always clearly bespoken his independent spirit and lifelong embrace of solitude." − Daniel Piersol, Seen In Solitude: Robert Kipniss Prints from the James F. White Collection (New Orleans Museum of Art, 2006) INFLUENCE & STYLE In a 1982 New York Times review, critic John Caldwell observed that "the question of artistic influences is unusually complicated in the case of Mr. Kipniss" and that "the sense that one gets in all of [his] work is of a genuinely individual sensibility." While this strongly individualistic approach has been universally acknowledged by many critics and scholars since, some have found resonance between Kipniss's concerns and that of Giorgio Morandi, René Magritte, Paul Cézanne, Caspar David Friedrich, Tonalism, the Hudson River School, and the Barbizon School, particularly Camille Corot. Kipniss's subject matter is landscapes, interiors, and still lifes, often described as conveying solitude and inward experience. The lighting is penumbral or shadow-like; twilight and dawn are favored time settings. In his paintings Kipniss employs exceptional subtlety in tones and restrained use of color to create an overall atmospheric effect. His prints are masterly meditations on mood and light using a resticted black-and-white palette, though he has occasionally created color variants of selected prints, always employing a subtle color palette. His works in various media—paintings, drawings, and printmaking—are often interrelated, presenting variants on a theme. The paintings date from the early 1950s; the prints from 1967. His favored techniques in printmaking have been lithography and mezzotint, the former dating from 1968 into 1994, the latter since 1990. In keeping with his subtle and understated style, he has a unique approach to titles: the first word is capitalized, and any subsequent words are lower case, unless a proper noun; “and” is replaced by an ampersand, and “with” is shortened to “w/”.

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It is not my wish to translate visual expression into words. This is about the actual making of the work. The intricacy of this image presented me with a persistent obstacle and an irresistible allure. Difficulties in bringing the drawing from paper to copper included physical and conceptual challenges. < Back to all essays Style and Isolation 2003 Kipniss discusses how he developed his mature style in relation to his youthful admiration of major painters of the late nineteenth century and his studies at The Art Students League and The University of Iowa, concluding, “The mistakes of my youth have led me to an interesting and rewarding maturity.” Downloadable PDF Self-portrait: Petersburg, Virginia (1957) oil on canvas, 24 x 24 in., Collection of The National Academy Museum, New York.

This handsome book won the bronze medal for Artbook of the Year from Foreward magazine. It contains an exhibition history for every one of the 139 mezzotint prints in the volume and an illustrated chronology of the artist's life. < Back to all books Robert Kipniss: Intaglios, 1982 - 2004 For the deluxe edition, please inquire with Kipniss’s galleries Consult Bookfinder for availability Catalogue raisonné (specific to titular technique and timeframe) Introduction and documentation by Trudie A. Grace, curator of works on paper, National Academy of Design, New York, New York Critical essay by Thomas Piché Jr., senior curator, Everson Museum of Art, Syracuse, New York Published by Hudson Hills Press, 2004 ForeWord Indies 2004 Book of the Year Award, Bronze Trade and deluxe editions 156 color plates Robert Kipniss, Intaglios 1982-2004 documents 139 intaglio editions in mezzotint, drypoint, roulette, and etching, including related paintings and hand-colored variants. Most are fully illustrated. Techniques, number and types of impressions, dimensions of the image area, printers, publishers, and public collections which hold impressions are listed. It includes an extensive biographical chronology and selected exhibition history. In her introduction, Grace situates Kipniss’s intaglio work to date with that of his work in other media. She discusses his mezzotint technique in depth, as well as the stylistic shift in his work that his intense focus on this medium provoked. Piché’s essay delves into Kipniss’s studio environment, how he developed his signature style. He positions the artist’s work as a continuation of the late-Romantic movement of Tonalism in the United States and discusses various European Modernist influences, including Paul Cézanne, Georges Braque, and Nicholas de Staël. He concludes, “Kipniss’s best work offers numinous meaning wrested from his life-long experience with phenomena not entirely knowable, even to himself.” This book is out of print. It was published both in a trade edition and a signed and numbered deluxe edition of 150 plus 25 artist’s proofs in a custom slipcase, including two signed original mezzotints, Interior w/ mountain and Nocturne w/ six trees (2004), each 7 x 5 inches.

Contact the Artist's representative - Sarah Kirk Hanley is an independent curator, critic, and expert appraiser based in the greater New York City area, specializing in contemporary prints, multiples, and illustrated/artists' books. She has been a contributor to Art in Print and Art21 Magazine and served in leadership positions at the Manhattan Graphics Center, Christie's, and the Milwaukee Art Museum. Mailing Address: P.O. Box 1067 Sharon, Connecticut 06069 Director of Operations Isaiah Rivera info@robertkipnissstudio.com +1 917 887 0576 Email Isaiah Philip Allen began his art career in Chicago in 1989. In 1993 he began exhibiting the artwork of Robert Kipniss at the Hexton Gallery in New York City, which led to four sold out, one man shows. From 1999 to 2006, Allen was managing director of the Weinstein Gallery in San Francisco, where he hosted multiple solo Kipniss exhibitions, created significant catalogues, and participated in several major publications about the artist's prints, paintings, and drawings. In that period of time and afterward, Weinstein Gallery sold many millions of dollars of Kipniss's work. Director of Sales Philip Allen philip@robertkipnissstudio.com Sarah Kirk Hanley is an independent critic, curator, appraiser, and consulting expert for fine art prints, editions, and illustrated artists’ books. In addition to her work for Robert Kipniss, she serves as an expert consultant for several art appraisal and advisory firms in New York. She is also a member of the board of directors for The Atelier 17 Project, which encourages new research about this avant-garde printmaking workshop upon its 2027 centennial, and the advisory board for the Center for the Preservation of Artists’ Legacies (CPAL). She is a frequent guest lecturer and speaker in her area of expertise for seminars, professional associations, colleges, and museums. She has published numerous scholarly articles and essays on Contemporary printmaking. Ms. Hanley is a member of ArtTable, the Association of Print Scholars, the Appraisers Association of America, the Catalogue Raisonné Scholars Association, and Phi Beta Kappa. Ms. Hanley holds an MA in Museum Education from the University of the Arts, Philadelphia, and a BFA in Printmaking and Fine Art from the University of Iowa, magna cum laude. Artist Representative and Curator Sarah Kirk Hanley sarah@robertkipnissstudio.com +1 203.507.8127

​It is an immense challenge to state in words what I try to put into images. I can talk about process and approaches, but the essence of my art eludes words. As a painter my statements are pictorial. I do know my pictures are not intended as decorations. If I must make a statement, my art is a moment of seeing the urgency in beauty, and an attempt to hold and keep something I can have and touch from this transient experience. On My Work Robert Kipniss February 28, 2016 < Back to all essays It is an immense challenge to state in words what I try to put into images. I can talk about process and approaches, but the essence of my art eludes words. As a painter my statements are pictorial. I do know my pictures are not intended as decorations. If I must make a statement, my art is a moment of seeing the urgency in beauty, and an attempt to hold and keep something I can have and touch from this transient experience.

Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. ​The Robert Kipniss studio is resource for the artwork and literature from the artist's longstanding career. ​ Build the Legacy! We are pleased to announce a special fundraising initiative in support of the completion of The Editions of Robert Kipniss:1967–2023 . In appreciation of your generosity, a complimentary miniature print by Robert Kipniss will be offered to supporters contributing $150 or more. Learn More Robert Kipniss is a distinguished American painter and printmaker. His work has been shown in solo exhibitions at major galleries and museums worldwide since 1951. Robert Kipniss Studio is a resource for the artwork and literature from the artist's longstanding career. ABOUT Learn more ARTWORKS View selected works EXHIBITIONS View selected exhibitions RESOURCES View books, collecitons, essays, and interviews

We are pleased to announce a special fundraising initiative to support the completion of The Editions of Robert Kipniss: 1967-2023. Build the Legacy! We are pleased to announce a special fundraising initiative to support the completion of The Editions of Robert Kipniss: 1967-2023 . Donate Now Donate Now This online publication, which will be made freely accessible, represents a major scholarly undertaking: the comprehensive cataloging of every edition created by the artist. The project will serve as a lasting resource for collectors, scholars, and institutions, ensuring the accurate documentation and preservation of his graphic oeuvre. You may assist in bringing this work to completion by making a contribution to the Robert Kipniss Studio. Donations of any amount are sincerely appreciated. In appreciation of your generosity, a complimentary miniature print by Robert Kipniss will be offered to supporters contributing $150 or more. $50 receive a signed copy of Robert Kipniss: A Working Artist's Life. $150 receive a miniature print. $500 receive 3 miniature prints and a signed copy of Robert Kipniss: A Working Artist's Life Your generosity directly supports the research, documentation, and production required to complete this definitive record, while also allowing you to acquire an original work at a uniquely accessible entry point. We are grateful for your consideration and continued commitment to preserving this work. With appreciation, Robert Kipniss Studio $50 Donation $150 Donation $500 Donation Donate any amount Section 1 Donation anchor Section 3 Section 4 Section 1 *Contributions to the Robert Kipniss Studio are not tax-deductible, as the Studio is not a nonprofit organization. All funds received directly support the research, documentation, and production of The Editions of Robert Kipniss:1967-2023. Miniature Prints The miniature print intended as a thank-you is selected by the Studio and may differ from the examples illustrated on this website. The prints vary in size but measure no more than four inches in any direction. Images are shown for representative purposes only.